Community uses of co-creative media. Digital storytelling and Co-creative Media : The role of community arts and media in propagating and coordinating population-wide creative practice

This report describes a dynamic ‘Co-creative Media System’ that is emerging in the social space bounded by the following institutional pillars: • major cultural institutions (including screen culture agencies, libraries, museums, galleries and public service broadcasters) • the Community Arts and Cultural Development sector (historically supported through various programs of the Australia Council for the Arts) • the community broadcasting sector • the Indigenous media sector, and • the higher education sector. It illustrates how this system activates the immense creative potential of the Australian population through the ongoing development and application of participatory storytelling methods and media.

Community uses of co-creative media digital storytelling and co-creative Media: The role of community arts and media in propagating and coordinating population-wide creative practice

How is creative expression and communication extended among whole populations? What is the social and cultural value of this activity? What roles do formal agencies, community-based organisations and content producer networks play? Specifically, how do participatory media and arts projects and networks contribute to building this capacity in the contemporary communications environment? The latest issue of CSJ article in a special issue on “Broadening Digital Storytelling Horizons” edited by Burcu Simsek.

"Her lively Looks a sprightly Mind disclose, Quick as her Eyes, and as unfix'd as those." - looking, fashion media, and risk culture

This chapter investigates the phenomenon of fashion from the perspective of ‘the look.’ This is achieved by the wearer (as opposed to the designer) and also forms the basis of fashion media, where it represents the ‘decisive moment’ of photography. The chapter argues that the evolving ‘look’ of fashion can be analysed to identify tensions between novelty and emulation, the unique and the universal, in contemporary consumer culture and status-based social-network markets. It explores the work of fashion photographer Corinne Day and artist Olga Tobreluts to identify the theme of ‘risk culture.’

A strategy for making media

It’s never been easier for rights advocates to create and distribute their own media productions, using text, audio, video and the internet. Rights advocates can make media to raise awareness about an issue, to convey new information that is not in the public domain, or to mobilise people to take action. However, careful planning, in the form of a strategy document, is essential to ensure that the media you make genuinely contributes to reaching your advocacy goals. Whether you are an individual rights advocate, a group or an organisation, this chapter will take you through the steps involved in creating a strategic plan for making any kind of media as part of a campaign or project.

Digital media literacy : connecting young people’s identities, creative production and learning about video games

This chapter outlines examples of classroom activities that aim to make connections between young people’s everyday experiences with video games and the formal high school curriculum. These classroom activities were developed within the emerging field of digital media literacy. Digital media literacy combines elements of ‘traditional’ approaches to media education with elements of technology and information education (Buckingham, 2007; Warschauer, 2006). It is an educational field that has gained significant attention in recent years. For example, digital media literacy has become a significant objective for media policy makers in response to the increased social and cultural roles of new media technologies and controversies associated with young people’s largely unregulated online participation. Media regulators, educational institutions and independent organizations1 in the United States, Canada, the United Kingdom and Australia have developed digital media literacy initiatives that aim to provide advice to parents, teachers and young people.

Digital storytelling, podcasts, blogs and vlogs : exploring a range of new media texts and forms in English

Curriculum initiatives in Australia emphasise the use of technologies and new media in classrooms. Some English teachers might fear this deployment of technologies because we are not all ‘digital natives’ like our students. If we embrace new media forms such as podcasts, blogs, vodcasts, and digital stories, a whole new world of possibilities open up for literary response and recreative texts, with new audiences and publication spaces. This article encourages English teachers to embrace these new digital forms and how shows we can go about it.

Sustaining the sustainable? Developing a practice and problem-led new media praxis

In this chapter I introduce an ecological-philosophical approach to artmaking that has guided my work over the past 16 years. I call this ‘Ecosophical praxis’. To illustrate how this infuses and directs my research methodologies, I draw upon a case study called Knowmore (House of Commons), an emerging interactive installation due for first showings in late 2008. This allows me to tease out the complex interrelationships between research and practice within my work, and describe how they comment upon and model these eco-cultural theories. I conclude with my intentions and hopes for the continued emergence of a contemporary eco-political modality of new media praxis that self-reflexively questions how we might re-focus future practices upon ‘sustaining the sustainable’.

Youth media production and technology skills acquisition : opportunities for agency

This chapter explores youth media production involving video games within a formal media education context. It investigates the possibilities for agency in student production contexts where emphasis is on the acquisition of technological skills. It explores alternatives to the well-established approach to media education that aims to develop students’ critical reading capacities as a means to agency. The chapter discusses some of the implications of the differences between youth production with ‘older’ technologies like video and new forms like multimedia production. It also discusses theories of agency as they relate to media education and the challenges of considering agency in relation to new media production. Post structuralist concepts are introduced and used as the basis to explore opportunities for agency in the context of students designing and producing aspects of video games. The chapter argues that the creative and experimental work students undertake while using software to make games artefacts opens up possibilities for agency.

Copyright, digital media literacies and preservice teacher education

This article considers copyright knowledge and skills as a new literacy that can be developed through the application of digital media literacy pedagogies. Digital media literacy is emerging from more established forms of media literacy that have existed in schools for several decades and have continued to change as the social and cultural practices around media technologies have changed. Changing requirements of copyright law present specific new challenges for media literacy education because the digitisation of media materials provides individuals with opportunities to appropriate and circulate culture in ways that were previously impossible. This article discusses a project in which a group of preservice media literacy educators were introduced to knowledge and skills required for the productive and informed use of different copyrights frameworks. The students’ written reflections and video production responses to a series of workshops about copyright are discussed, as are the opportunities and challenges provided by copyright education in preservice teacher education.

Music, media and making : humanising digital media in music education

This paper examines three functions of music technology in the study of music. Firstly, as a tool, secondly, as an instrument and, lastly, as a medium for thinking. As our societies become increasingly embroiled in digital media for representation and communication, our philosophies of music education need to adapt to integrate these developments while maintaining the essence of music. The foundation of music technology in the 1990s is the digital representation of sound. It is this fundamental shift to a new medium with which to represent sound that carries with it the challenge to address digital technology and its multiple effects on music creation and presentation. In this paper I suggest that music institutions should take a broad and integrated approach to the place of music technology in their courses, based on the understanding of digital representation of sound and these three functions it can serve. Educators should reconsider digital technologies such as synthesizers and computers as music instruments and cognitive amplifiers, not simply as efficient tools.

Visualizing digital media interactions : providing feedback on jam2jam AV performances

Instrumental music performance is a well-established case of real-time interaction with technology and, when extended to ensembles, of interaction with others. However, these interactions are fleeting and the opportunities to reflect on action is limited, even though audio and video recording has recently provided important opportunities in this regard. In this paper we report on research to further extend these reflective opportunities through the capture and visualization of gestural data collected during collaborative virtual performances; specifically using the digital media instrument Jam2jam AV and the specifically-developed visualization software Jam2jam AV Visualize. We discusses how such visualization may assist performance development and understanding. The discussion engages with issues of representation, authenticity of virtual experiences, intersubjectivity and wordless collaboration, and creativity support. Two usage scenarios are described showing that collaborative intent is evident in the data visualizations more clearly than in audio-visual recordings alone, indicating that the visualization of performance gestures can be an efficient way of identifying deliberate and co-operative performance behaviours.